Introduction
A home theater’s central nervous system is the digital processor,
serving as preamp, digital surround decoder, D-to-A converter (DAC) and
switcher. Audio Design Associates (ADA), a company that specializes in
custom installation, manufactures a line of high performance components
and the Cinema Reference is their most comprehensive and versatile
processor to date, incorporating both Dolby Digital and DTS decoders
along with THX enhancements.

As manufacturers firmly entrench themselves in the DVD revolution,
Laserdiscs are already virtually a footnote in A/V history. While the
majority of processors require the purchase of additional outboard gear
to play Dolby-encoded Laserdiscs, the Cinema Reference actually houses
the often-elusive RF Demodulator. Functioning as a sophisticated
preamp/switcher, this processor is loaded with a wide assortment of
inputs and outputs, insuring future expandability as digital products
continue to emerge.

High-quality components, superior sonic performance and advanced
features tend to drive the price up on processors, and so it is with
the Cinema Reference. At $8,000, this unit is clearly for the elite and
discriminating user.

InstallationThe
Cinema Reference offers eight analog audio inputs and seven digital
inputs (four coax & three Tos-Link) that can be used independently.
If you prefer only digital coax or optical inputs, ADA makes a triple
Digital-to-Optical Converter box and a triple optical-to-digital coax
converter box. There’s a total of 14 usable video inputs (eight
composite, four S-video and two component video), as each input has its
own video follower. A set of component outputs is supplied to feed a
monitor with component inputs. Of course, it’s furnished with the six
audio outputs required for sending audio signals to amps and subwoofers.

The
RF Demodulator’s configuration is highly unusual. In addition to the RF
input connection (RF signal from a Laserdisc player), there is a
separate AC-3 Digital Out connector. Using a small jumper cable, the
AC-3 Digital Out is linked to digital input #4. My reference LD/DVD
player, the Pioneer DVL-91, is set up on digital input #1, but when
playing a Dolby-encoded Laserdisc, it switches over to input #4. Since
there is no clear reference in the manual, it took me a few attempts to
realize that the DC Mute switch (which protects the audio signal from
RF interference). placed above the RF input, must be in the off
position to play a Dolby Digital Laserdisc. Except for this omission,
the manual actually provides wonderful step-by-step procedures for
every type of adjustment you’d ever need to make.

Another
cool thing about the AC-3 Demodulator is that it provides two inputs,
allowing hook-up of two Laserdisc players. Why do that? Imagine loading
the second disc to a movie in a different player. You’ll never
(assuming they’re both flip sides) have to get up and change discs
again.

All adjustments are made from the five front panel controls. Pressing a
knob brings up a menu of setting options. When the knob is turned, the
menu scrolls through its options. Pressing the knob again selects the
desired setting. It’s possible to go through several levels following
this procedure and everything is easily viewed on the front panel’s
large display screen.

Configuring speaker levels is quite simple, due to the Cinema
Reference’s built-in pink noise generator. Since it doesn’t
automatically cycle through all six channels at the speed of two
seconds per interval, as other noise generators do, there is plenty of
time to make adjustments. Making adjustments to the speaker delay
ensures that the sound from each speaker will reach the listener at the
same time. The Solo Channel Test mode is ideal for listening to content
from a specific speaker, muting all other channels. Speaker levels can
be adjusted from this mode as well.

EvaluationAfter
all is said and done, regardless of the features and functions, what
matters most is how the unit sounds. Incorporating the highest-grade
Crystal 24-bit CS4390 DACs, the Cinema Reference is one of the best
sounding processors I’ve had the pleasure of reviewing.

It delivers a natural presence, especially on solo instruments like
guitars and piano. Imaging is precise, exhibiting three-dimensional
qualities. On the eclectic Afro Celt Sound System Volume 2: Release
(Real World), the percussion was crisp and articulate with extreme
depth and air. Whispered voices and some of the percussion at the top
of track 1 were well outside the speaker’s boundaries, seeming to come
from a rear speaker. Too bad they weren’t actually coming from the
rear, because this material would be well suited for a discrete
multi-channel mix.

The Cinema Reference comes with one of the largest selections of
surround options you’ll ever find. There are a total of five AC-3
modes, offering varying dynamic range and THX settings. Four DTS modes,
one of which adds THX enhancement, and a multitude of surround effects
for Pro-Logic, stereo, 3-channel and Quad playback are also available.

The first time you play a piece of software, regardless of how it’s
encoded, select your preferred mode and all similar encoded discs will
automatically play at that setting when the input is assigned to the
Auto Mode. When I inserted the Dolby Digital DVD of X-Files: Fight the
Future (20th Century Fox) into my player it switched to AC-3. Using the
Mode knob I dialed in the = AC-3 with THX enhancement setting.
Subsequently, any time I put in a Dolby Digital DVD, the AC-3 THX
setting is automatically selected.

This movie exhibits ultra clean and intelligible dialogue, even with
soft voices or voices mixed with an abundance of ambient effects and
music. During the scene in which helicopters chase Scully and Mulder
through the cornfield, front-to-rear transitions are dynamic, yet
smooth and coherent, particularly with the THX circuit inserted.
Disengaging THX creates a tighter and narrower near-field monitoring
effect.

I immediately noticed the increased impact and ultra-realistic surround
effects when popping in the DTS-encoded DVD of Dances with Wolves
(Orion). Providing a greater sense of cinema, you can practically feel
the wind as it whips the American flag when Costner rides to the
Indians’ home on the plains. The thunderous buffalo stampede reaches
the decibel levels of an earthquake. As this is far more than what most
small homes can handle acoustically, I had to turn down the LFE track
considerably.

The beauty of this unit is how well it was designed for current and
future digital surround formats. The standard input format for AC-3
decoding is "S/PDIF". It’s possible to change this format for use with
AC-3 formats relating to off-air and satellite HDTV broadcasts.

The Downside
It was surprising to receive a unit of this caliber sans balanced
outputs. When I discussed this omission with the folks at ADA, they
said it came down to a matter of rear panel real estate; balanced
outputs or the Demodulator. They opted for the RF Demodulator,
determining that more home theater enthusiasts would appreciate its
inclusion.

The Cinema Reference can be ordered with three different types of
control. Normally having several ways to control a device wouldn’t be
considered a downside, but it does complicate the situation, requiring
serious considerations prior to purchase. Fortunately, none of the
options cost extra dollars and are part of the package.

ADA’s
proprietary remote controller, dubbed "The Thing", is quite bulky
compared to other remotes, even though it only contains a single knob
and five buttons representing the unit’s main controls. (There are also
navigational buttons for an ADA digital source device.) What I liked
about this controller was the nice tactile feel and intuitive operation
due to its lack of a zillion buttons or multi-level screens. In a
situation when it’s necessary to attenuate (or boost) a specific
channel, as I had to do with the LFE track on Dances with Wolves, you
simply press the button marked "Channel Mode," dial up the desired
channel, press the knob and turn it up or down.

If you
want something more conventional, order the SL-9000 Home Theater Master
from Universal Remote that is preprogrammed by ADA.

The third option includes the IRT-232 infrared transmitter and the
Windows-based software program called Bits. This allows you to use a
computer to control the ADA processor. If you want to purchase this
program in addition to one of the other remotes, it will run an extra
$300.

Lastly, you may get the BC-232, which converts the ADA Bus™ to an
RS-232 connector, so you can plug into the com port of LCD touchscreens
from companies like AMX and Crestron.

If you want to teach the Cinema Reference’s IR codes to other remote
devices such as the Philips Pronto or Lexicon’s 700t, you need to
select either the SL-9000 or the IRT-232.

Conclusion
The Cinema Reference is so packed with features that we could never
fully represent the magnitude of its functionality in a short review.
As much as the Cinema Reference distinguishes itself as a high
performance product, it’s not for everybody. Operating and setting up
this unit is not particularly difficult, though given its price point,
I suspect most Cinema Reference customers will be predisposed to an
advanced touchscreen system and a professional installation. Still, for
those financially willing and able to achieve the ultimate fulfillment
of their A/V dreams, the ADA Cinema Processor is a superlative choice.